This Youtuber did a fine job of writing about Jerry if you go right to his link on that site. He was a great studio musician and had become known for surf music but in his case he got to be the vocalist for a couple songs.
"Come Over to My Place" was a Shindig TV show theme song. Capitol was the hot record label in Los Angeles summer of '65. Jerry became a life long friend of mine.
Linking to Jerry Cole on Rockabilly Hall of Fame!
Use the Search feature of this blog to locate other Jerry Cole posts, including the Interview with Wes Bryan.
Showing posts with label Jerry Cole. Show all posts
Showing posts with label Jerry Cole. Show all posts
Tuesday, June 19, 2012
Monday, May 23, 2011
(361) DAVID GATES SONGWRITER ARRANGER PRODUCER
"We drove from club to club, three a night, auditioned for everybody until we finally got a job and got rolling again. And then on Saturday nights, after hours, musicians from all over the city would meet at a place called the Crossbow, in the Valley. It was at the Crossbow that I met guys like Steve Douglas, Glen Campbell, James Burton, Leon Russell, Chuck Blackwell, Jerry Cole. Slowly they were getting into recordings, mostly demo sessions, some union jobs. By jamming with these people, I got more work. All of a sudden, I was being asked to play on demo sessions and then on recordings." - David Gates
Linking here to David Gates - In His Own
Linking here to David Gates - In His Own
(I liked Johnny Crawford's hit "Sandy" that David arranged.)
A session player who became a composer, singer-songwriter, arranger, and music producer, before he became an entertainer, DAVID GATES is certainly an underrated talent. His work appears on many record labels. We chose this YouTube video because he's credited in every role he played. GWENN STACY from 1964:
Tuesday, February 23, 2010
A CONVERSATION with WES BRYAN on CAROL KAYE
It's Tuesday February 22nd, 2010 at 4:19 PM. Wes Bryan and I are sitting here together on the computer...
WES BRYAN: I knew Carol Kaye. "The Wrecking Crew" was originally all of Phil Spector's people... people like Jerry Cole. Carol was a member of Musicians Local 47 and in the studios with a lot of other great musicians, some who became my friends or who I hired when I was producing.
CHRISTINE TRZYNA: Which friends were those?
WB: Glen Campbell for one. Jerry Cole...
CT: Did you ever work with Carol?
WB: No, I was working with Jerry Cole and Joe Osborne but I saw her around studios and I knew her work. Carol could play the hell out of that bass. In fact if you were giving out a GOLD MEDAL, a SILVER MEDAL, and a BRONZE MEDAL, Carol, Joe, and Jerry would be scrambling to win within seconds of each other...
CT: What was the relationship between Carol, a woman in the studio in the early 1960's music business in Los Angeles, and the men?
WB: There was a hell of a lot of competition, because there is good money to be made as a studio musician, and lots of people went from the road into the studio or the studio onto the road. THE GREATEST BASS PLAYERS WERE IN LA!
Carol Kaye was THE ONLY WOMAN playing the bass in the studios. The guys treated her like a little sister. She was personally a little bit on the shy side and very particular about her playing.
She had a lot of class, a lot of elegance - bet she still does!
CT: If there was anything you could say to Carol Kaye right now what would it be?
WB: She's been there and done that, and I look forward to reading the memoir she's been working on for a decade! It'll be a big seller, especially among the music loving crowd, and all the people - the fans - who love all the people she worked with as well! I'll be sitting in the front row at her book signing, waiting to buy my copy!
C Wes Bryan and Christine Trzyna All Rights including Internet and International Rights Reserved.
WES BRYAN: I knew Carol Kaye. "The Wrecking Crew" was originally all of Phil Spector's people... people like Jerry Cole. Carol was a member of Musicians Local 47 and in the studios with a lot of other great musicians, some who became my friends or who I hired when I was producing.
CHRISTINE TRZYNA: Which friends were those?
WB: Glen Campbell for one. Jerry Cole...
CT: Did you ever work with Carol?
WB: No, I was working with Jerry Cole and Joe Osborne but I saw her around studios and I knew her work. Carol could play the hell out of that bass. In fact if you were giving out a GOLD MEDAL, a SILVER MEDAL, and a BRONZE MEDAL, Carol, Joe, and Jerry would be scrambling to win within seconds of each other...
CT: What was the relationship between Carol, a woman in the studio in the early 1960's music business in Los Angeles, and the men?
WB: There was a hell of a lot of competition, because there is good money to be made as a studio musician, and lots of people went from the road into the studio or the studio onto the road. THE GREATEST BASS PLAYERS WERE IN LA!
Carol Kaye was THE ONLY WOMAN playing the bass in the studios. The guys treated her like a little sister. She was personally a little bit on the shy side and very particular about her playing.
She had a lot of class, a lot of elegance - bet she still does!
CT: If there was anything you could say to Carol Kaye right now what would it be?
WB: She's been there and done that, and I look forward to reading the memoir she's been working on for a decade! It'll be a big seller, especially among the music loving crowd, and all the people - the fans - who love all the people she worked with as well! I'll be sitting in the front row at her book signing, waiting to buy my copy!
C Wes Bryan and Christine Trzyna All Rights including Internet and International Rights Reserved.
Monday, June 15, 2009
(252) JERRY COLE - AN INTERVIEW WITH WES BRYAN
This is from an interview I did with Wes recently during one of our meetings. Christine Trzyna
Wes Bryan:
"Jerry Cole always drove a big Lincoln Town Car. It was a massive car for a guy who was barely five feet tall. But Jerry was BIG is so many ways..."
"He had the biggest Fender amps at the time. And Jerry had a low resonance in his voice (Tequila!) that made him SOUND like he was six foot four - bigger than the sky."
"When I started producing records, I called Jerry into the studio to play every chance I got. He was a natural arranger. And he became a regular on the Shindig television show... Jerry's gift was that he could play just about any instrument he got his hands on, so when we recorded we would "stack" various instruments. He helped me more than anyone. Always a smile on his face. A one man band."
"I ran into Andy Williams at the Farmers Market on Fairfax, in Los Angeles. He said this of Jerry: He's one of the best musicians that every existed." At the time Jerry had lead Andy's band and produced a record called "Tell Mary," a hit on Capitol.
Jerry's passed away - a great loss to me. I think of him on so many different occasions. He's on so much of the music that I produced.
Wes Bryan:
"Jerry Cole always drove a big Lincoln Town Car. It was a massive car for a guy who was barely five feet tall. But Jerry was BIG is so many ways..."
"He had the biggest Fender amps at the time. And Jerry had a low resonance in his voice (Tequila!) that made him SOUND like he was six foot four - bigger than the sky."
"When I started producing records, I called Jerry into the studio to play every chance I got. He was a natural arranger. And he became a regular on the Shindig television show... Jerry's gift was that he could play just about any instrument he got his hands on, so when we recorded we would "stack" various instruments. He helped me more than anyone. Always a smile on his face. A one man band."
"I ran into Andy Williams at the Farmers Market on Fairfax, in Los Angeles. He said this of Jerry: He's one of the best musicians that every existed." At the time Jerry had lead Andy's band and produced a record called "Tell Mary," a hit on Capitol.
Jerry's passed away - a great loss to me. I think of him on so many different occasions. He's on so much of the music that I produced.
Monday, June 8, 2009
Saturday, June 6, 2009
(251) JERRY COLE and HIS SPACEMAN SURF MUSIC
My friend Jerry Cole not only did Spaceman music, he did surf music. Here is one of his best, and what a guitarist he was! (Use the search feature of this blog to read what else we have to say about Jerry, who recently passed away!)
Wednesday, June 3, 2009
JERRY COLE Quote on the Musician Lifestyle
"Where there's a will for us musicians there will always be a way for us to make a living from our music." - Jerry Cole
Sunday, November 25, 2007
(78) CHALLENGE RECORDS : COWBOY STAR GENE AUTRY'S LABEL
Jerry Cole, Jerry Fuller, and a number of other talents, had been recorded on Challenge Records which was owned by cowboy star-entrepreneur Gene Autry, before they came to American Music to be songwriters more or less full time.
Through the early 1960's this was still an era in which many small labels managed to succeed, though perhaps only a very few of their artists are known today. If a song was a hit in a regional market for one of the regional market favorites, another company in another region might try the same song with one of their singers. It was the cover tune era. Sometimes this worked for the songwriter, because the song was being recorded repeatedly and got a lot of regional airplay on the radio. Sometimes though it was a matter of chart wars just diluting the overall success of the song.
To those of us who grew up admiring the cowboys, the way me and Elvis and Tommy Smothers loved Lash LaRue, men like Gene Autry, who diversified and built empires, were important role models.
Gene went on to own radio stations as well and today he's behind a hugely successful museum in Griffith Park, Los Angeles. Once called the Gene Autry Western Heritage, it just goes by "The Autry National Center" now. It's the place where you can take in Westerns and silent films and check the movie version of Cowboys and Indians against reality, and attend Native American events.
Through the early 1960's this was still an era in which many small labels managed to succeed, though perhaps only a very few of their artists are known today. If a song was a hit in a regional market for one of the regional market favorites, another company in another region might try the same song with one of their singers. It was the cover tune era. Sometimes this worked for the songwriter, because the song was being recorded repeatedly and got a lot of regional airplay on the radio. Sometimes though it was a matter of chart wars just diluting the overall success of the song.
To those of us who grew up admiring the cowboys, the way me and Elvis and Tommy Smothers loved Lash LaRue, men like Gene Autry, who diversified and built empires, were important role models.
Gene went on to own radio stations as well and today he's behind a hugely successful museum in Griffith Park, Los Angeles. Once called the Gene Autry Western Heritage, it just goes by "The Autry National Center" now. It's the place where you can take in Westerns and silent films and check the movie version of Cowboys and Indians against reality, and attend Native American events.
RCS DISCOGRAPHY FOR CHALLENGE RECORDS, Gene's label, linked above!
GENE AUTRY's MUSEUM has grown to be THE AUTRY NATION CENTER and is collaborating with other museums that document Native American life.
Wednesday, November 21, 2007
(76) JERRY COLE - A CHAMP OF A CO-WORKER
One of my co-workers at American Music was Jerry Cole, who was once with the Champs, famous for their "Tequila" song." The musicians who made up the Champs were studio musicians - then we said "session men" - who had a first single that made it to the number one spot on the charts and won a Grammy for the best Rhythm and Blues record of 1958. It sold more than six million copies throughout the world. So like me Jerry had an early and unexpected success of a bit of a novelty tune that went to Gold. We wrote about fifteen songs together. He was a great musician too.
Here's a You Tube presentation of the Champs. Bob Morris, Dash Crofts, Jerry Cole, Jimmy Seals. Their music was called "instrumental rock" meaning no lyrics, but this song has a definite "south of the border" - Mexican - flavor.
Yes, Dash Crofts and Jimmy Seals - of the future Seals and Crofts - were in the Champs!
Now here's a Tequila Song which was recorded on Challenge Records, owned by Gene Autry, the cowboy star, about 1959. The name The Champs came from Gene Autry's horse, named Champ.
Here's a You Tube presentation of the Champs. Bob Morris, Dash Crofts, Jerry Cole, Jimmy Seals. Their music was called "instrumental rock" meaning no lyrics, but this song has a definite "south of the border" - Mexican - flavor.
Yes, Dash Crofts and Jimmy Seals - of the future Seals and Crofts - were in the Champs!
Now here's a Tequila Song which was recorded on Challenge Records, owned by Gene Autry, the cowboy star, about 1959. The name The Champs came from Gene Autry's horse, named Champ.
And then there's this snappier version of The Tequila Song. That's Jerry yelling "Tequila!
What music production in the recording studio can do!
Subscribe to:
Posts (Atom)
